ENG 229 3.W: Basic Sequence & Work List #3

Today’s Plan:

  • Thursday Office Hours: 9:30 to 12:00 in my office (1140b)
  • Updated Photoshop Friday exercise in Canvas
  • Review Schroeppel Exercise (Composition)
  • Today’s Schroeppel Exercise (Basic Sequence)
  • Work List #3

Updated Photoshop Friday Exercise in Canvas

We had a number of people out on Friday. We did a tutorial on Adding Text that you can find in Photoshop (I think in the Learn section?). There’s an assignment in Canvas.

Review Schroeppel Exercise on Composition

Back to Canvas.

Schroeppel Exercise on Basic Sequence

This one will require you to move around and do some math. Just use still pictures!

There’s a template.

What story are you trying to tell?

Work List #3

Let’s check out the assignment description in Canvas.

In addition to our previous work on composition, this work list focuses on sequence. I want to supplement Schroeppel with this video by Jeven Dovey on the 9 shots he tries to gather before editing.

A second Dovey video that has a nice example of a shot reversal [start at 1:08].

We’ll talk more about establishing shots in class on Friday. Next Monday will be a work day; make sure you have footage to edit in class that day. These videos will be due before next Wednesday’s class.

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ENG 229 2.F: Photoshop Friday

Today’s Plan:

  • Basic Editing in Photoshop
  • Adding Text in Photoshop
  • Adding Text in Adobe Rush

The name of today’s class comes from an ancient internet tradition.

Basic Editing in Photoshop

Let’s Talk about the Basics: layers, the tool bar, image size vs canvas size.

Adding Text in Photoshop

Let’s try working with the Adding Text tutorial in Photoshop (it is 5 minutes long). I included a .jpeg in the class notes email so you do not have to download and extract the .zip file. You’re welcome.

Adding Text in Adobe Premiere Rush

There’s really not much too this–text options in Rush are limited. I do recommend creating titles for the different elements/steps in your How To video. Just be consistent with text-size and placement.

  1. Make sure we have a sample project with which we can work (file > new project; then use sample media).
  2. First we will add a title. Adjust your playhead to the start of your media. On the top-right of the screen, hit the “T” to open the graphics pane. Click “Add Graphic” or “Browse.”
  3. Another pane should open on the left-side of the screen. Some of these are quite obtrusive. Note too that I had difficult accessing some in our lab (a server issue, which I am guessing is related to IT)
  4. We can adjust the text. Adding a thin border or a drop shadow can help with readability.
  5. We can adjust the size and placement of the text box
  6. We can change the length of our title
  7. We can duplicate our title (but is that easier than creating a new one?)
  8. Homework

    Please remember that there’s three things due before next Wednesday’s class:

    • If you forgot to show me your tripod today, then show me your tripod on Wednesday.
    • Read the Schroeppel chapter on Basic Sequence. Be ready to shoot a basic six-shot, four angle sequence on Wednesday
    • Finish your How To video
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ENG 225 2.W: Completing the First Worknet

Today’s Plan:

  • Completing the First Worknet: The Affinity Pass
  • Team Work Spaces: Building a Bibliography

Homework: Completing the First Worknet

Today in class we’ll work on the third element of Mueller’s worknet, what he calls the affinity pass. Then you will revise your work on the three passes (semantic, bibliographic, and affinity) into one document.

Team Work Spaces: Building a Bibliography

You’ll remember that the first component of the worknet, the bibliographic pass, asked you to identify 3-4 sources from an article that could be used as further research. Today we are going to collaborate and share those sources by adding them to a Google Doc I have created. In order to try and prevent this from descending into chaos, there will be rules.

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ENG 301 2.W: Job Research Report Overview

Today’s Plan:

  • Review Codes
  • Job Research Report Overview
  • Homework: Reading for Next Wednesday

Job Research Report Overview

Our first major project acts as a follow-up to Eva Brumberger and Claire Lauer’s article “The Evolution of Technical Communication: An Analysis of Industry Job Postings.” I will ask you to replicate their research methodology in small scale. I myself did this work when I was hired by UNC back in the summer of 2017. I was charged with developing 3 courses that would help both Writing minors and English majors be better prepared for the job market. This charge led me to research job advertisements for English majors, and, at the time, Brumberger and Lauer (2015) was the most recent and comprehensive study I found.

However, their article focuses on “technical communication.” This designation can have many meanings–sometimes it is merely a synonym for professional writing. But not in their case–they use it (as do I) in the more precise sense of developing documentation (instruction manuals), product testing (usability reports), and working with scientific experts to communicate scientific/technical knowledge. Their research speaks more to folks at large research institutions with Professional and Technical Writing major, more specialized faculty, and software licenses such as MadCap Flare or Adobe RoboHelp.Our department didn’t have anyone matching those specializations–so as much as I appreciate their research, I wanted something a bit more relevant to our department. We are a much smaller department. While we currently have 7 full-time faculty (myself, Dr. Wood, Dr. Austin, Dr. Ezzaher, Dr. Goodwin, Dr. Brownlee, and Dr. Golson) none of us, I think, would claim Professional or Technical writing as a core specialization–we have experts in Rhetorical Theory, Public Rhetorics, Cultural Rhetorics, Composition and Writing Studies, Rhetoric and Technology. So the question that drove my own research, which you will learn to recreate, is: what skills, technologies, characteristics can UNC focus on to maximize your preparation for today’s job market? How can we best tap into the specializations of our faculty to design both an intellectually rigorous and vocationally strategic program?

In answering that question, I’ve turned my attention to Professional Writing jobs outside of technical writing. During my research, I came across a specialized job listing site–mediabistro.com. From their “About Us” page:

Mediabistro is the premier media job listings site and career destination for savvy media professionals. Whether you’re searching for new job opportunities, striving to advance your career, or looking to learn new skills and develop valuable expertise, we are here to strengthen and support your professional journey. We have the tools and resources to help you navigate your own path and find career happiness.

In addition to job postings, mediabistro.com offers resume services and courses on professionalization and personal brand building. Rather than turning to a more popular site like monster.com, I used mediabistro.com because it focuses specifically on jobs involving writing and communication. I particularly valued it over, say, Indeed.com or Linkedin because of its specific emphasis on creativity. Many of the students taking this course would be English Literature majors; I wanted to do what I could to make sure the course surveyed jobs that a) they might want and b) for which they would feel more qualified.

I spent the month of June 2017 scanning every job ad posted to mediabistro.com. I filtered out jobs that:

  • Called for experience in television production (especially those that required years of on-air experience)
  • Called for extensive experience as a field journalist (although I retained jobs open to those without journalistic experience; a few jobs were looking for bloggers or content contributers)
  • Required degrees in finance or accounting
  • Required extensive experience with Google Ads and/or other Customer Relationship Management (CRM) softwares (Salesforce was particularly popular)
  • Required applicants bring a client log with them
  • Required management or hiring experience (the term management is quite slippery in adverts; sometimes it means “manage a team” and clearly indicates the need for leadership experience. Sometimes it means “manage our twitter account” and isn’t, per se, a leadership position)
  • Required backend coding skills
  • Required extensive graphic design portfolios (I did retain entry level graphic design jobs)
  • Required 5 or more years of experience
  • Telemarketing jobs, part-time jobs, or unpaid internships

After filtering out these jobs, I was left with a corpus of 375 jobs. After closer inspection of every add in the corpus, I coded 232 jobs.

I ran this project again in the spring of 2022. My research assistant, Jacob Rigsby, collected another 250 jobs from mediabistro.com. After closer inspection, we culled the corpus to 240 jobs. Jacob first coded 25 jobs from the 2017 corpus for norming purposes. After that, Jacob and I coded every job in the 2022 corpus, meeting on Thursdays to compare results and discuss non-congruent codes.

In the past, I have had the class collectively code 200 jobs. This semester I am going to try something different. Rather than asking you to code 20 more jobs, I am going to provide you with the data from my research project. I will also give you a description of how that data was coded.

Your job will be to develop that data into an accessible and engaging research report. Like most pieces of professional writing, that report will have to juggle a few different audiences:

  • I want a report that might speak to high school seniors and/or college freshmen, demonstrating to them that Writing students can find a wide range of employment. It should also give them both 1) a sense of why they might want to major in Writing, Editing, and Publishing and 2) what courses they should expect to take if they do so
  • I want a report that very subtly speaks to administration, suggesting that–based on job data–that the new WEP major might need additional resources/courses that are currently unavailable
  • I want a report that documents the kinds of intellectual work writers do. This has to be grounded in job advertisements themselves–you will have to comb through a few and find passages that speak to how writing jobs are not just soulless mechanical hellscapes
  • Your report will have to oscillate between the job market as a whole and one of the specific specializations I delineate in the data: Writer, Editor, Marketing, Social, Sales, Design, or Hybrid (and we will talk about that last designation soon).

Resources:

Today I’d like you to spend some time looking through the job corpus. Try to find a couple of job ads that seem exciting, and be on the look out for jobs that show the range and intellectual promise that writers can experience. Lets’ divide up by letters of the alphabet (A-D, E-H, I-L, M-P, Q-T, U-Z).

Homework

In preparation for next Wednesday’s class, read the Lauer and Brumberger article on “Redefining Writing” and complete the Canvas assignment.

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ENG 229 2.W: Making a “How To…” Video (Part 2)

Today’s Plan

  • Generating Criteria for Writing and Evaluating Instructions
  • Reviewing Your Drafts
  • Reminder

Criteria for Instructions

I had you read a brief selection from Markel on documentation in preparation for today. I want to use that reading to generate a list of criteria. Let’s talk and write.

Reviewing Your Drafts

I asked you to print out a copy of your instructions for today (if you forgot, you can print from this lab for about 10 cents a page, assuming you have credit on Bear Print). I’d like to collect your drafts and have them reviewed by 3 different reviewers.

Reviewers: as you read, not only should you think about the material we listed, but close your eyes and imagine you trying to do the task described. Make not of where you have questions. Identifying ambiguity and places in which users might misinterpret instructions are key components of editing technical documentation.

Reminder

A reminder that Work List #2 is due before class on Wednesday. I’ll spend Wednesday’s class introducing Work List #3, “Promoting a Place.” Read Schroeppel Chapter 3 on the Basic Sequence–you’ll be using it for an in-class exercise next Wednesday.

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ENG 229 1.M: Making a “How To” Video

Today’s Plan:

  • WL #2: A How To Video
  • Review Schroeppel’s chapter on “Composition”
  • More Schroeppel practice
  • For Next Session

Work List #2: A How To Video

This week’s challenge will be working on a “How To…” video. Developing instructions takes us into the realm of technical writing, what in that field is called “documentation.” I’ve put a reading from Mike Markel’s Practical Strategies for Technical Communication into the files section of Canvas.

While learning some principles for documentation is useful, my focus this week is on shot composition. I generally expect these videos to be a “talking head” video that then uses cut-aways and voice overs to walk us through steps. As a boardgame fan, I almost always go to Youtube to search up a “how to play” video before I read the instructions. Commonly, these are “talking head” medium shots with cutaways. But these can also be what I call “lofi”–simply still pictures and voice narration.

Content Expectations
My expectations are that these videos:

  • Will be around 1-2 minutes long
  • They will have an introduction, a materials overview, and a series of at least 4 steps
  • Each step will likely require 2 shots
  • There will be some kind of conclusion that ends the scene

Note: if you are a bit overwhelmed, then it is okay to use still pictures for your cut aways. I will be focusing on shot composition; if it is easier for you to put a voice over a still image, then go for it.
Formal Expectations

The formal expectations all come from Schroeppel’s first chapter:

  • Shots are set up with a tripod (I’ll be looking for camera jiggle)
  • Shots are aligned using the rule of thirds
  • Shots are balanced
  • When possible, shots include angles
  • Shots attend to leading lines and backgrounds

Don’t worry about audio quality here–I don’t expect you to use an external microphone. Those of you with previous experience are welcome to experiment with microphones, but those who are new can simply focus on framing and recording shots. At this stage, shot composition is my core concern.

Review Schroeppel

I think I just did that, since the project expectations are a brief overview of the chapter.

More Schroeppel Practice

To Canvas.

For Next Session

I want to focus first on writing quality instructions before we start shooting video. Developing instructions takes us into the realm of technical writing, what in that field is called “documentation.” I’ve put a reading from Mike Markel’s Practical Strategies for Technical Communication into the files section of Canvas. While Markel addresses video instructions, his practical advice focuses on print instructions.

I’ll ask you to read the Markel .pdf and draft a set of instructions for a simple task for Wednesday’s class. You can use the sample instructions on page 418 as a model–just remember to add a section on what materials someone would need to execute your task. Also pay particular attention to guidelines on pp 411-413 as you draft.

Please print two copies of your instructions and bring them to Wednesday’s class.

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ENG 229 1.W: Working with Adobe Rush

Today’s Plan:

  • A Tip from Steve Stockman
  • Work List #1 Assignment: Introduce Yourself
  • Working with Adobe Rush

A Tip from Steve Stockman

I used to assign Stockman’s How to Shoot Video that Doesn’t Suck book in this class; I switched to the Schroeppel because it offers a bit more aesthetic depth. But Stockman does have three principles worth discussing for our first project: keep your shots short. If you watch a professionally edited piece, you’ll notice that most shots are 3-5 seconds long.

Work List Assignment #1

This first assignment is meant as an introduction to video editing. For some this will be review, for others it will be new. I asked you to record three ten-second clips of yourself doing something. Today we want to edit those clips. So, in a minute, we will fire up Adobe Rush and import your clips into the program.

Expectations:

  • At least 4 shots
  • Shots are between 3 and 6 seconds
  • Shots are lined up using the rule of thirds

Note that you could cut up one of your 10 second clips into two 5 second clips. You could put a slight zoom on them and then either sequence them or separate them.

This assignment is due before the start of Friday’s class.

Working with Adobe Rush

Today we are going to watch a few Adobe Rush tutorials and then you will have time to work on your project.

Hey Marc, if the onboard tutorials aren’t great, this one that you used in 2020 is pretty good.

Super important note about saving and storing assets/video projects

TL;DR: Save your Adobe Project file on a stick drive with all of your video clips. Or save them in a folder and then .zip that folder and upload it to a OneDrive or Google Drive.

Let’s talk about how to avoid the red X’s of death. Two things. First, recognize that there is a difference between a project file, the file you work in to trim clips, add transitions, edit content, etc (the working file) and the file any other person can watch. In Adobe Premiere, it is .prproj. These files can only open in their respective Adobe program, and will NOT work separate from the files used to create them. To share a video project like these, you need to use the export function and convert them into an .mp4 (there’s other video extensions, but .mp4 is the pretty much universal file extension).

One thing you should realize is how video editing softwares work. When you “import” a file into a video editor project, you aren’t actually copying those files. The computer is making a “path” from those files, located in a specific place on a specific computer, to the working file (say, the .prproj file). Those files only get copied when you export the working file into the .mp4. Once exported, a .mp4 file cannot be edited, it is a finished product.

What does this mean? It means if you move the .prproj file, if you separate it from the clips used inside that file, then the working file will no longer be able to find those clips. Where those clips should be, you’ll find red X’s of death (which symbolize File Not Found). Your work will be gone.

What does this mean? It means, when working on a video file, that you have to save the project file and all the assets used in the project (video clips, audio tracks, still images, whatever) in the same folder. Which means if you want to work on video projects in class and then, say, in the library or at home, that you are going to need a way to move files around. There’s two ways to do this.

First, you can purchase a flash drive. Ancient technology, I know. These days you can get a 32 GB flash drive for like 6 bucks. One nice thing is that you can work and save files directly to the flash drive.

Second, you can use cloud storage, like a Google Drive or a Microsoft OneDrive. These are okay, but recognize that you will have to download all the files when you start working in a .zip folder, and then upload them all back up to the cloud when you are done. This can be annoying.

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ENG 229 1.M: Welcome / Syllabus

Today’s Plan:

  • Rule of Thirds
  • Syllabus
  • Homework

First Day: Rule of Thirds

I wanted to open class with an exercise to give you a sense of the kinds of things we’ll be working on this semester. So, first, a mini-lecture.

I consider the sentence to be the most fundamental, stand alone, unit of writing. It identifies a character and describes their action, often providing context along the way.

What is the most fundamental unit of video? The shot. The shot, of course, comes from photography. A quick definition might be how we line up, or frame, the camera. Framing a shot means identifying a subject. And the way we line up a subject starts to tell a story about them. It obviously isn’t as clear as it is in writing a sentence; but the angle, the lighting, the positioning we choose informs the action, provides context, and/or establishes mood.

The most common shot, the most basic photographic syntax, is the rule of thirds. A quick video.

Quick Assignment:

  • Find a partner
  • Learn their name
  • Go outside and take their picture. Practice lining up your shot using the rule of thirds
  • Submit your photo to Canvas

Syllabus

Let’s take a look.

Homework: Intro Video Assignment

Two things:

For your first night’s homework, I want you to shoot and edit a very short video of yourself. Introduce us to something you can do, or something you like, something that you feel makes you unique. This is meant as a low-stakes, diagnostic assignment.

Teaching writing is always tricky, because you never know someone’s previous history with/relationship to writing. People come into a class with widely divergent experiences. I find this is even more so with video. My guess is at least a few people in the class are aspiring or experienced filmmakers and a few people in the class have never shot more than a few seconds of video (we can talk about the differences between film and video later). Some of you probably have experience multi-track editing in Audacity. That sentence probably makes some of you feel a bit panicked. Don’t panic. As I said in the syllabus, this course assumes no previous experience with video. I’ll walk us through every step of the process. But, before I do that, I want a sense of where to start. That’s what this mini-assignment if for.

I want you to shoot three different ten second clips of yourself talking or doing something. This can be eating your favorite food, playing a video game, petting a dog, walking, lifting, running, whatever. I want to be able to work with those clips in class on Wednesday–so I would like you to upload those clips to a Google Drive so you can easily access them in class on Wednesday.

This project might require help from a partner if you do not already own a tripod, because I DO NOT WANT YOU TO BE HOLDING YOUR CAMERA WHILE YOU SHOOT. That is the only strict rule for this assignment.

TL;DR: 3 clips of yourself. 10 seconds each.

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ENG 328 15.W: Working With Data / Bar Graph, Pie Chart, Line Graph

Today’s Plan:

  • Updated Go West Files
  • Making Graphs
  • Go West Crit on Friday

Updated Go West Files

There’s a few new things: first, we have a folder of Go West Logos. Second, there’s a text list of contributor names for the Thank You / Sponsor / Partners page.

Graph Tutorials

Today we are going to follow two tutorials to make 3 different graphs.

You’ll take a screen shot after each tutorial and load those up to Canvas.

For the line graph exercise, we will need some data.

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ENG 328 14.F: Rest of Year; Ethical Treatment of Data

Today’s Plan:

  • Publishing Career Preparation Website
  • Neal Cross Poet: Monday at 7:30 in the Campus Commons [extra credit]
  • Rest of Year Calendar
  • Ethical Treatment of Data Workshop #1
  • Homework

Publishing Career Preparation Website

An email, forwarded to me:

Hello!
It is I, the couped president. I’m just sending this over if you wanted to share it with all the editors over there. This is a resource created by my boss and another person in my department over at the University Press of Colorado. I thought it might be a nice thing to have if any of you Crucible folks want to continue in the world of publishing. Feel free to pass it along to profs and such. I’m sure there is an English major out there who would put it to good use.

It is a nice resource, especially because getting into publishing is really about knowing someone inside the sphere already.

https://pathsinpublishing.wordpress.com/

Catherine King-Burke

Rest of Year Calendar

Here’s the idea:

  • Friday, Apr 14: Ethical Treatment of Data #1
  • Monday, Apr 17: Helvetica Part 2
  • Wednesday, Apr 19: Ethical Treatment of Data #2
  • Friday, Apr 21: Go West Film Crit
  • Monday, Apr 24: Ethical Treatment of Data #3
  • Wednesday, Apr 26th: Go West Film Finals
  • Friday, Apr 28th: Final “Exam”

Ethical Treatment of Data

As we near the course’s conclusion, I want to do a mini-unit on presenting data and information. I’m planning this as a three part series.

  • Workshop #1: What We Should And Shouldn’t Do
  • Workshop #2: Learning How to Make a Graph in Illustrator
  • Workshop #3: Visualizing Some Data

Most of this class has focused on the fundamental “rules” (genre expectations developed/transformed over time) for designing print documents: alignment, typography, color, spacing, etc. Those elements come into play when designing even a simple visualization like a chart or graph. But communicating information, especially to lay audiences, demands ethical attention to scale and clarity. We must resist (and insist other designer’s resist) the temptation to either manipulate for persuasive effect or sacrifice clarity for impact.

We started this course learning Golumbiski and Hagen’s design sins. That is, I introduced design by showing examples of bad design. And so, let’s get a sense today of what not to do. First, let’s just cover the day one basics. Three types of visualizations. What are they used for?

  • Line Graph
  • Bar Graph
  • Pie Chart

And let’s look at Walt Hickey, Senior Editor of Data for Business Insider’s rant against pie charts (which, um, might be the papyrus or comic sans of the visualization world; see his analogies at the end of the article).

From that reading, we can discern a few clear commandments:

  • Thou shalt not complicate (clarity is key)
  • Thou shalt not distort perspective (no manipulation)
  • Thou shalt probably not use a pie chart (unless labeling and emphasizing an extreme discrepancy)

Let us turn to something perhaps more authoritative, A Reader on Data Visualization produced by Michael Schermann’s 2629 Information Science class at Santa Clara. A worthy read all the way through, but we only have enough time today to look at the Ethics section and the Data Visualization Hippocratic Oath.

We should also have time for Ryan McCready’s “5 Was Writers Use Misleading Graphs to Manipulate You.” I want to look specifically at his Going Against Convention section.

As time permits, we’ll look at a few examples.

[Another good analysis that we don’t have time for: Berinato’s “Is That Chart Saying What You Think It’s Saying?”]

A point I want to make: there is no such thing as “neutral” or “objective” data visualization, in the same way that there is no “neutral” or “objective” language we can use to describe an event. Language, as Kenneth Burke reminds us, is a process of selection. Burke:

Even if a given terminology is a reflection of reality, but its very nature as a terminology it must be a selection of reality; and to this extent it must also function as a deflection of reality.

And the consequences of such an observation:

If action is to be our key term, then drama [becomes our key way of understanding/analyzing human existence–humans “narrate” their world to themselves and develop vocabularies that validate that understanding]; for drama is the culminative form of action [since we, by nature, develop “plots” to rationalize all of our actions]. But if drama, then conflict. And if conflict, then victimage. Dramatism is always on the edge of this vexing problem, that comes to a culmination in tragedy, the song of the scapegoat. (“Terministic Screens” from On Symbols and Society 1989)

Here’s a quick something I developed a long time ago to try and prove this point.
Still relevant.

Time for an exercise. The following articles both contain a series of graphs. Using the material I’ve covered today, what do you make of them?

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